It’s pretty impressive what this busy Finn has penned in a timespan of merely three years. As on his previous two records, the scope is quite epic, telling grand tales of high adventure though the lens of melodic black metal with a good measure of Gothenburg style melodeath. One name that immediately springs to my mind is the legendary Byron Roberts from Bal-Sagoth. Even though that band has long since retreated back into the mists of time, their fantasy fueled tales of Lemuria are a must for all fans of this genre. Any such fans will definitely revel in Kervinen’s songwriting.

Lyrically, the third record takes a bit of a more melancholic, smaller scale as it recounts the sorrow filled memories of a dying man. In that respect, this time the album doesn’t seem to reflect any particular book or franchise like before. None that I could discern in any case. Moreover,  with “melancholic” I didn’t mean the new record is a quiet, acoustic record full of ballads. Quite the contrary, the opening ‘Symphony of Silence’ is anything but silent. After a cinematic intro it soars through peaks and valleys like a fire breathing dragon on the hunt. It has dungeon synthy parts, but can also rip through a blistering blast section. ‘Life’s Worth’ is a bit of a funny track as the central melody can’t help but remind you of a famous eighties pop tune. I won’t spoil which one, but just listen and you’ll recognize the melody immediately. Not sure if that was intentional, but nothing wrong with a bit of fun if it was right? ‘Always’ takes a more melodic death metal approach with some folky tunes that would not be out of place on an Eluveitie record, but then without the bagpipes and the female vocals.

Talking about vocals, Jere likes to alternate between growls, screams and a more narrative, story telling style that again recalls the mighty Bal-Sagoth. ‘Mending Through Suffering’ starts out with a very soothing piano intro until it lifts off again before it settles in another solemn eulogy.

As the album progresses across its arc and its main character comes closer to his own demise and reflects on his own life, accomplishments and failures, the songs get increasingly morose and somber, like the doom laden‘When everything Feels Like Nothing’. What makes these songs stand out, in my eyes, is the meticulous attention to detail, adding small bit of cinematic elements in there that really contribute to this grand epic atmosphere.  The short instrumental interlude ‘Longing’, leads into the final ten minute epic ‘My Beloved North’, the only song that betrays a little bit of its lyrical locale and setting.

While this realm does not feel significantly different form the other worlds of high fantasy that Bloody Valkyria visited on the previous two albums, it remains a feat of wonder how he manages to compose and execute a work of such breadth all on his own.

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